[Nedeslusire]

Pretty damn gorgeous new Spanish blackgaze out on China's Pest Productions:
"Heading now towards unbroken mountains and seas of star through a long and winding journey. LUCES LEJANAS, rsing star from the Spanish post atmospheric black metal/blackgaze scene - The 1st album PARTIDA CD out now!
FFO: Alcest, Deafheaven, Astronoid, Sadness, Wolves in the Throne Room, Panopticon, Agalloch or Ashbringer."

Partida, by LUCES LEJANAS

6 track album

pestproductions.bandcamp.com

 

[Nedeslusire]

Today's highlight I suppose, Prophecy's big release... pretty damn good...

"FVNERALS have created an album that turns the emptiness of the void and the depth of the abyss into sound with their third full-length "Let the Earth Be Silent". The duo gives sonic shape to the silence of extinction that humankind brings to all life on earth and itself. Depression, isolation, and existential despair ooze out of every note. FVNERALS came into being when singer and bass player Tiffany Ström met guitarist and songwriter Syd Scarlet in the southern English seaside resort Brighton in 2013. Their joining of creative forces resulted in the formation of a dark doom act that also reaches out to and draws from ambient, drone, and a pinch of post-rock to complement what constitutes a particularly sinister and heavy sound. FVNERALS' first sign of life was the self-released EP "The Hours" (2013), which was soon followed by the debut full-length "The Light" in the summer of 2014 and a first UK tour. In 2015, FVNERALS returned with the second EP "The Path" and relocated to Glasgow, Scotland where they started working on their sophomore album. When "Wounds" hit the scene in 2016, it sparked relentless live activities across Europe in each following year until the pandemic shut everything down. Compared to previous records, FVNERALS have taken an even less optimistic approach to songwriting on "Let the Earth Be Silent". This also means that their third album is an artistic gift of beautiful darkness."

Let the Earth Be Silent, by FVNERALS

7 track album

fvnerals.bandcamp.com

 

[aligreto]

Bowie: Hours

This is a good album. It has a signature sound throughout which I like. The musicians play well and it is also well produced. I also like the overall tone of the album.

 

[Barbebleu]

Bob Dylan and Mark Knopfler - Complete 1979 to 1986 Recordings. Outtakes from various sessions for Slow Train Coming and Infidels. Excellent.

 

[Nedeslusire]

Excellent Danish black metal from beautiful Copenhagen 🖤

With ‘Volden er naturens mejsel (”Violence is the chisel of nature”) Drüben has made an album which lends music to the principle of the violence that contains the creation of everything and the final seizing-to-be of everything.

 

[elgar's ghost]

Miles Davis - the second great quintet and beyond part one.

E.S.P (1965):

Rec. Jan. 1965.

Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums

Miles Smiles (1967)

Rec. Oct. 1966

Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums

 

[Nedeslusire]

"Formed in 2014 as a way to cope with the human condition." Yeap, says it all.
Post-Black Metal/Dark Ambient solo project from Italy, gorgeous stuff...

Morphogenetic Fractal Hologram, by Fugit

9 track album

fugitofficial.bandcamp.com

 

[Andrew Kenneth]

Mamamoo - Travel
(10th Mamamoo mini album)

 

[atsizat]

1975

 

[elgar's ghost]

Miles Davis - the second great quintet and beyond part two.

Sorcerer (1967)

Rec. May 1967 (with one track rec. Aug. 1962 ***)

Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums

Bob Dorough - vocals ***
Miles Davis - trumpet ***
Wayne Shorter - tenor saxophone ***
Frank Rehak - trombone ***
Paul Chambers - bass ***
Jimmy Cobb - drums ***
Willie Bobo - bongos ***

Nefertiti (1968)

Rec. June and July 1967

Miles Davis - trumpet
Wayne Shorter - tenor saxophone
Herbie Hancock - piano
Ron Carter - bass
Tony Williams - drums

 

[Nedeslusire]

Gorgeous atmospheric black metal from Volos, Greece. Solo project.

"Emerald Sunsets" is a compilation album that brings together four tracks from demos and EPs since 2020 into one album;...Of Green Pastures..., The Light That Burns demo and The Furrow of Woes.

 

[starthrower]

Disc 2: Happy With What You Have To Be Happy With / Level Five

Just getting back to this behemoth box set I bought last May.

 

[Merl]

Groundhogs - Split (fourth album from 1971):

Tony McPhee - lead vocals, lead guitar and acoustic slide guitar
Peter Cruikshank - bass guitar
Ken Pustelnik - drums

EG, back in the 80s I saw Tony McPhee numerous times (5 times at least at the Band on the Wall in Manchester). Each gig was very different with some billed as Tony McPhee and the Groundhogs, sometimes just The Groundhogs or sometimes just Tony McPhee+. He always played 2 sets with a 10 - 20min break in the middle. From the best of my recall (it was nearly 40 years ago after all) some looked like these (below)

Set 1:
Blues set (General)
Blues Set (mostly John Lee Hooker songs)
Blues set (mostly Muddy Waters songs) McPhee solo material
Scratching the Surface /Blues Obituary tracks only.

Set 2: nearly always consisted of the Groundhogs' most popular songs as he talked to fans quite lenghily after gigs (so Garden, Cherry Red, Split Pts 1&2, Groundhog, Strange Town, Soldier, 3744 James Road and Light my Light often got played) but McPhee knew a lot of the songs by heart and would play songs shouted out during gigs. I suspect he had about 5 or 6 standbys prepared pre-touring plus the band was pretty stable in the mid 80s and McPhee rotated the setlist heavily around this time so they would have had a good knowledge of most of the Groundhogs discography. If the band didn't know the song he'd simply play a slowed down, guitar-only version off the cuff (whilst the band had a beer - he did this quite often) or they'd join in at various points through the track. My favourite memory was one gig at the Band on the Wall (circa 83) where he played a John Lee Hooker blues set in the first half, rounded off by an absolutely amazing solo rendition of Groundhog that was a good 10 minutes long (for which the small crowd went nuts) . He came out for the 2nd set and announced he was playing right the way through the rest of the Split album then completed the setlist with a few tracks from 'Thank Christ' to finish. When he returned for the encore (Soldier) someone shouted out "Amazing Grace". He explained that it wasn't a song they'd rehearsed and he didn't often play it live at the time so he started playing, with the intensity (and gain on the guitar) growing each time. The bass player joined in after a minute or so and then the drummer, just keeping the general structure. McPhee then launched into a brilliant improv solo until the track reached a crescendo. He walked off to a standing ovation. I spoke to him later and said how much I enjoyed Amazing Grace and for the next few years I saw him he'd often play it in his encores. I saw him the year later and he played nearly the whole of Thank Christ for the Bomb (I think it was minus 2 tracks) plus Groundhog, Amazing Grace, Split 2 and the longest, quickest Cherry Red* I've ever heard him play.

* I've heard McPhee play Cherry Red numerous times on record (there's lots of different in-concert live recordings and I had several bootlegs) and there's no two versions the same. Especially different was the tempo he played it at. I only saw him once play it at a tempo approaching the studio recording. It was often faster and more often considerably quicker than the Split version. He would also change the words, improv whole solo sections, talk to the crowd, put an excerpt of another Groundhogs song in the middle, or make up parts on the spot meaning that the original was barely recognisable.

 

[Nedeslusire]

"Cyclic Law warmly welcome US based soundscape artist Caldon Glover. Thematically "Labyrintia" was imagined as a structure in space older than humanity that runs sideways to our own universe, connecting physical and temporal spaces in our universe and the ur-universe alike that would otherwise be impossible to reach. Sonically it uses a blend of primitive acoustic folk instruments, as well as organic and electronic sound sources to create an ancient and timeless sound that evokes feelings of the rituals of a chthonic cult lost in other realms, as they worked tirelessly to open a door into this endless maze, to find their way home or to further their journey."

 

[Red Terror]

 

[Red Terror]

Bowie: Hours

This is a good album. It has a signature sound throughout which I like. The musicians play well and it is also well produced. I also like the overall tone of the album.

As with most Bowie albums, the artwork/design is often more interesting than the music itself; kudos to the designer.

 

[Kjetil Heggelund]

Some death metal poetry about war from Karl Willetts & co and some BEER 💚🤘

 

[pianozach]

4-Song Playlist for a Saturday Evening

Led Zeppelin: Led Zeppelin (1969): Side One

Good Times Bad Times
Babe I’m Gonna Leave You
You Shook Me
Dazed and Confused

Actually, the album was recorded in 1968, prior to the band even having a recording contract; guitarist Jimmy Page and band manager Peter Grant ponied up the money for the 36 hours of studio time, and Page produced.

The album was mixed by Glyn Johns. Beatles fans will recognize the name of the Beatles’ engineer (and default producer) on the White Album, and the man that in 1969 created three different versions of the Get Back album before it was shelved, then ultimately given to Phil Spector to assemble instead.

Surprisingly enough, for an album that is now considered one of the defining moments in Rock and Roll history. it received some mixed and negative reviews when it was first released.

Good Times Bad Times kicks off the album, with an oddball heavy metal Top 40 radio-friendly vibe. It was also Zeppelin’s first single, and peaked at Number 80 on the Billboard Hot 100. The bass riff played by John Paul Jones is pretty complex.

In 2007 Godsmack released a cover of the song that got to Number 8 on the charts.

Babe I’m Gonna Leave You was developed from the Joan Baez version of the song, and was originally credited to "Traditional, arr. by Jimmy Page", leading to songwriter Anne Bredon suing for copyright infringement, and ultimately getting her songwriting credit, as well as substantial back-payment of royalties in 1990.

Willie Dixon’s You Shook Me is a heavy, pummeling bit of post-psychedelic blues-rock, but is quite similar to Jeff Beck’s version released just months prior. Bassist John Paul Jones plays a nifty organ solo, but it should be noted that he also played organ on the Jeff Beck version as well. Vocalist Robert Plant also contributes a harmonica solo. This is one of the first tracks to use the reverse-echo production technique. There’s a fairly famous Call-and-Response between Page and Plant near the end.

Dazed and Confused is yet another song with dubious band credentials: Jake Holmes filed a copyright infringement lawsuit in 2010. In 2012 the suit was dismissed after an "undisclosed settlement" was agreed to, although the song’s credit is now listed as "By Page – Inspired by Jake Holmes."

One of the most notable aspects of the song is the use of a bow on the electric guitar.

 

[Kjetil Heggelund]

Wow, suddenly my favorite Def Leppard song. Someone said Freebird...

 

[Kjetil Heggelund]

told you